GREAT Pair of Old 1950's Photos of Behind the Scenes NEWS Show on
CBS. In the photos its so cool, you can see the people on the show live,
you can also see the Camera Screen which also shows the people. On the
wall it reads Westinghouse with clocks - can any one give us an exact date
on these?

1945 Thornton Oakley "Television studios
are realms of cameras and lights"
National Geographic Society I was told that the print is
about:6 1/2" X 10"

Neil Armstrong reads the
plaque on the ladder of the LM – a Polaroidphoto
of the TV picture received by the Parkes Radio Telescope. Notethe
uniformly bright, detailed picture, including the reflection of Neiland the LM in Buzz Aldrin’s visor (center).Right: A frame of the official NASA recording,
after the TV had beenprocessed
and relayed to Houston. This is what the world saw.

Richard Hess linked to a report from this site on July
14th. I couldn't get that link to work. But there is an
alternate link provided on an associated page.

It looks as if my assumption was correct, the Apollo
moon landing tapes were sent to NARA's Federal Records Center in
1970, then called back by NASA some time beween 1975-1979, when NASA
pulled back almost all of a large series of records. The moon
tapes should have gone back to the FRC and eventually been
accessioned into NARA as "Permanent," but this never
happened.

It would have been much safer for the tapes to have
remained at the FRC, you can see they have good item control over such
materials when they are held in NARA facilities.

Maarja

Update: Apollo 11 Tapes

08.15.06

NASA personnel continue to sift through 37-year-old
records in their attempt to locate the magnetic
tapes that recorded the original Apollo 11 video in
1969. The original tapes may be at the Goddard Space
Flight Center, which requested their return from the
National Archives in the 1970s, or at another
location within the NASA archiving system. Despite
the challenges of the search, NASA does not consider
the tapes to be lost.

The tapes were sent from Goddard to a storage
facility of the National Archives in late 1969. This
kind of transfer is standard for government records,
whether contracts, memos, photographs or space
telemetry. Among the 2,614 boxes of Apollo mission
tapes that went to the facility, the original Apollo
11 may have been among them. Between 1975 and 1979,
NASA's Goddard Space Flight Center recalled all but
two of the 2,614 boxes. The remaining two boxes
included telemetry tapes from Apollo 9, leading
engineers to believe that these shipments contained
most of the Apollo related materials.

Image
left: The machines pictured read the 1-inch-wide
magnetic data tape from their 14-inch round reels.
Multiple machines are used because each reel only
records about 15 minutes worth of data. As one reel
fills, the next machine automatically starts
recording a slight overlap for data continuity. Credit:
NASA. (Click on image to enlarge.)

First-generation copies of the converted video from
Apollo 11 as well as other first-generation copies
and some original versions of the converted video
for the Apollo 12 through Apollo 17 flights are
still in NASA Johnson Space Center's Informational
Resources Directorate's video vault in Houston.

About 18 months ago, NASA Goddard began an informal
search for the tapes after some inquiries from
retirees from the space agency and others from the
Apollo program. NASA engineers are hopeful that when
the tapes are found, they can use today's digital
technology to provide a version of the moonwalk that
is much better quality than what we have today.
Goddard engineers were able to extract data from a
nearly-identical type of tape recorded in 1969 of an
Apollo simulation from the Honeysuckle Creek,
Australia tracking station providing optimism that
when the tapes are located, we can preserve original
video.

Image
right: Pictured on the small screen in this
image is sample raw data from a magnetic data tape
before being split out into the various video,
telemetry, biomedical sensor, and voice
communications between the spacecraft and the Earth.
Credit: NASA. (Click on image to enlarge.)

In the event the tapes are found, NASA Goddard is
taking steps to make sure all the unique hardware
required to process the Apollo 11 moonwalk tapes is
still around and can be used to make digital
reproductions of the tapes that will be kept with
the NASA History Office to make sure the video is
protected and restored as needed.

NASA has also asked that any paperwork related to
the transfer of the tapes from the National Records
Center to NASA Goddard and paperwork related to the
NASA Johnson Space Center's transfer of tapes to the
National Archives be preserved and digitized to
prevent further deterioration of these historical
records.

Because of power limitations, Apollo 11 used
specially developed slow-scan video that had to be
converted into a format that could be broadcast over
commercial television. The original signal was
transmitted at 10 frames per second and had to be
converted to 60 frames per second to be viewed on
your TV set.

Image
left: Pictured is the side of a blank Tape
Container box. Boxes like these likely contain the
tapes in question and have tracking information
filled out on the label from when they were
initially sent to the National Records Center. Each
box can contain up to five data tapes. Credit:
NASA. (Click on image to enlarge.)

The signal originated on the Moon, traveled through
the emptiness of space back to Earth, and was
received by tracking stations on the ground in
Goldstone, California; Parkes, Australia; and
Honeysuckle Creek, Australia. These three tracking
stations recorded the original signal that included
the television video, as well as voice, telemetry,
and biomedical data. The data was recorded onto
magnetic tapes, and simultaneously converted into a
U.S. broadcast format for transmission to Houston
and final release to U.S. television networks. The
equipment used to convert the signal unfortunately
caused some unavoidable loss of image quality.

35 Years Ago, "One Small Step..." ( 0.4
Mb PDF ), which is an account of RCA engineer Jack Yanosov and the
development of the PLSS radio unit. John Dilks (K2TQN), QST, February
2005. Document courtesy Maty Weinberg, ARRL (American Radio Relay
League):The National Association for Amateur Radio. Used with
permission.

Comparison photographs the Apollo 11 Lunar Television
as seen at Goldstone, Honeysuckle Creek, and Houston ( 4.4
Mb ); Colin Mackellar, Editor of the Honeysuckle Creek website,
December 2005. Used with permission.

This is a painted pressed steel toy NBC Television camera truck from
the 1950s-60s

In the 1950's, The Kraft Television Theatre was one of the
country's most popular TV shows.

Each Wednesday and Thursday night, households would tune in to see
exciting live theatrical productions. However, before each episode, an
animated little Kraft TV cameraman would roll across the bottom screen
with its "K" embossed camera spinning. He became so popular that
viewers would call to request a souvenir of the little guy. Finally in
1954, Kraft produced this premium. All it cost was 50 cents and the end
flap of a Velveeta carton!4" HIGH, 5" LONG, 2" WIDE

This item is an imperf PLATE PROOF of one of the values from Tonga 1991
Telecommunications set.

PLATE PROOFS

All Tonga stamps issued after 1980 were perforated. Unlike other
countries, Tonga did not issue both perf and imperf stamps, they were all
perforated, none were issued imperf. However, at the beginning of each
printing run, the printers Walsall Security Printers of London, used the
printing plates to print off one imperf plate proof sheet for checking
purposes before the main printing run. This plate proof sheet was not
perforated, and was checked by the printers for any mistakes and for
clarity of colour. After checking, this first sheet was not perforated,
but was left imperf., and was then placed in the printers archives. The
item here has been taken from the printers imperf plate proof sheet,
and is a very scarce item from the printers archival material. History via
- gej1949 in Moreton, QLD, Australia

Unique Japan Tin Television Remote Car with Great Graphics
of Camera Man, People and Early TV Technology - Van measures
approx. 8 inches long by 3 inches wide by 3 inches high - Rubber
Wheels

DINKY TOYS ROVING EYE...NO 968 TELEVISION CAMERA VAN

W6UZO Amateur Radio Television

Please can you tell us more about this fellow and his camera?

Note the 'creative' use of military surplus parts and
cabinetry to build this camera.. Kudos to this pioneer!

WAS MENTIONED THAT THEY WERE TAKEN IN THE WENTSWORTH
STORE IN THE WESTCHESTER DISTRICT OF LOS ANGELES

Remington Rand's Vericolor, a closed circuit
television camera developed in conjunction with CBS for industrial use.

Military Television Cameras-and the AmateurThe Story of the Radio Amateur's Part in the
Development of Missile-Borne Television Cameras.

BY A. DAVID MIDDELTON,* (*
Department Editor.)W20EN

LEFT> One of the original 2-inch Iconoscope amateur television
camera units. Circuit details were almost identical to those described in
October, 1940, QST.

GUIDED-MISSILES have long been a dream of the fighting services. One
obstacle in the path of their research was the lack of a

suitable
and effective "eye" in the controlled missile that could scan
the scene and transmit this intelligence to the control operator who could
then correct for any possible deviation in direction.

Such an "eye" was finally supplied in the form of compact,
light-weight, expendable television camera units which could be attached
to or installed in a remotely-controlled missile such as a robot bomber, a
glide bomb or a high-angle bomb. Two outstanding facts become evident in
an

analysis of the background of one such equipment.
The first includes the inquisitiveness and ingenuity of the radio amateur
that led him to delve into the mysteries of television. The second
demonstrates the foresight and courage shown in QST's program to
present amateur television in amanner designed to
stimulate the radio amateur's activities along these lines.

These two features combined to produce the type of compact,
light-weight military missile-borne television camera equipment

shown
in the photographs.

From the radio amateur's laboratories

came the
incentive. the original designs. applications and construction technique
and radio amateurs initiated, nurtured, developed and carried through a
program of research, development and production of television camera
equipment in the Electronic Division of Remington Rand at Middletown,
Conn.

Among the first amateur television transmission experiments were those
made by W1BCR, about 1932. This station transmitted television

pictures
on 160 meters utilizing a 48-hole scanning disc. These signals were
received by various New England amateurs. including Philip S. Rand, W1DBM.
Television transmissions were directed to definite stations and these
stations answered back on 160-meter 'phone and described the character of
the picture received. In those days it was considered an exceptional feat
if the receiving station could identify and describe any details of the
received images. Rand said recently, "I'll never forget the thrill
when, at the end of a Falmouth Radio Club meeting at my shack, we tuned in
on 160 meters for a few QSOs. Upon hearing the characteristic buzzsaw note
I switched in the neon tube and after synchronizing the scanning disc we
saw through a magnifying glass, my call, W1DBM, spelled out in big
characters. W1BCR was 'calling' me by television! 1 answered on 160-meter
'phone and he replied by televising some Mickey Mouse cartoons in black
and white. ,.

In the latter part of August, 1940, while Rand was in Washington, he
made inquiries on the possibility of controlling, by radio, bombs and
other missiles so that they might be directed to their targets more
accurately than with a bombsight. W1DBM had read Sherman's article in QST
on a new electronic television transmitting system for the amateur and
also Lamb's article on a new iconoscope for amateur

television
cameras. During a discussion with a naval officer concerning the
possibility of guiding a bomb by radio remote control, Rand was told
"that this would not be feasible due to the difficulty in seeing the
falling bomb from a plane and hence the difficulty of estimating its
probable striking point." This original opinion later proved
incorrect. (The Army recently announced successful remote-controlled bombs
known as the Azon and Razon. The difficulty in seeing bombs fall from the
plane was overcome through the use of a smoke flare in the bomb.)

Left to right -Philip S. Rand, WIDBM, James J. Lamb, WIAL, and
Joseph Brustman, ex-OEI34. Rand's arm rests on the first model of the
4-inch Orthicon television camera developed by this trio. WIAL is holding
the latest model incorporating. 2.inch Vericon pick-up tube. This unit,
combined with the pulse box held by Brustman, makes up the "latest
word" in compact television camera equipment.

As Rand sat there having his remote-controlled bomb idea picked to bits
he recalled his amateur television interest and amateur television's
recent publicity in QST. He countered that if a television camera
could be built small enough to be put in the nose of the bomb then the
bombardier would not have to worry about visually following the bomb in
its fall but could see, on a television screen in his plane, the exact
spot at which the bomb was hitting.

Rand returned home, approached company officials, and was assigned the
job of building an amateur television outfit to test the feasibility of
building television cameras small enough to fit into a bomb. Due to the
military secrecy surrounding such projects, Rand was unaware that research
groups, having vast resources and engineering personnel, were also engaged
in the development of television camera equipment for missile-borne use.
In true amateur fashion Rand started on the project without the aid of
outside sponsorship and satisfactory equipment was actually developed
before any agency was sufficiently interested to offer any aid.

A project had been started by H. J. Rand (W1DBM's nephew) utilizing' a
two-inch amateur "ike" for picking up objects through fog and
darkness by infrared rays. Experiments determined that the two-inch
amateur "ike" was not particularly sensitive in the infrared
region and therefore was of no value for this purpose and this equipment
was made available and the television camera project got under way in
September, 1940 with W1DBM and H. J. Rand as co-workers. .

Tests disclosed that the two-inch amateur

"ike"
lacked sensitivity and definition for high quality pictures. This
operating defect was brought home forcefully late one afternoon when
demonstrating the equipment. There was insufficient light outdoors to get
a decent pick-up. However, upon tuning in NBC's television they saw an
excellent outdoor picture of a football game. Upon investigation it was
learned that NBC was using an Orthicon type of pick-up tube. Samples of
these tubes were procured and work started on a small camera utilizing
this more sensitive pick-up. By now, the project had grown considerably
and additional personnel was required. J. J. Lamb, W1AL, of QST,
had been working on amateur television and was a logical choice. He was
engaged on a consulting basis and later secured a leave of absence from
the ARRL to devote full time to the project. Next came Joseph Brustman,
ex-OEI34, a native of Vienna,Austria, a man with
wide television experience. H. J. Rand dropped out to begin work on
another project. Later he joined the. Army Air Forces. Toward the end of
the war, with the rank of major, Rand actually controlled television
guided missiles in the ETO.

The first model utilizing a four-inch Orthicon was completed in the
spring of 1941 and given vehicular tests transmitting back to the
laboratory on 105 Mc. This camera unit weighed about 65 pounds as compared
to the then existing "portable" commercial equipment comprised
of six or seven large-size suitcases weighing a total of some 700 pounds.

This midget television equipment was demonstrated to the armed forces
but they did not appear particularly enthusiastic about such a
"fantastic idea." However, the OSRD and the NDRC thought it
worth while. They could not sponsor a completed project but if a smaller
and lighter camera could be made it would be a new development which NDRC
could sponsor.

A new type of Orthicon pick-up tube had been experimentally made by Dr.
H. B. DeVore of RCA, and this tube was used in a considerably smaller
television camera subsequently developed for and demonstrated to the NDRC
by the Middletown group.

Early in 1942, Vernon Chambers, W1JEQ, obtained a leave of absence from
QST and joined Rand and Lamb, as did Harry Whittemore, W1BR.

By late spring it became apparent that more of the two-inch Orthicons
would not be available from RCA, so it became necessary to manufacture
them and Marshall P. Wilder, W2KJL, started the production of the desired
pick-up tubes, assisted by Frank Norman, W1JZB. Daniel Smithwick, jr.,
W1NKA, went to work on construction of the cameras as did Calvin Bennett,
W1KHL. August, 1943 brought George Grammer, W1DF (obtained on leave of
absence from QST) and later Milton Bloomquist, ex W2BAI, joined
Wilder's vacuum-tube section. John S. Muskatallo, W1BFW, and Thomas S.
Pugarelli, ex-W2LWL, also were included in the project. Approximately
fifty workers, men and women, were finally engaged in the manufacture and
development of this equipment.

Phil Gildersleeve, W1CJD, city editor of the
Middletown Press and famous QST cartoonist, holds one of the 2-inch
Vericon cameras during a recent demonstration of the equipment to the
press. The cord stretched along the unit is part of the automatic iris
control system.

After the Germans began using their robot bombs the Army and the Navy
became intensely interested in remotely-controlled guided missiles and the
Middletown group was given contracts by both services to develop still
smaller and lighter weight units.

Various models built concluded with the latest and smallest model
comprised of two pieces; one, a long slim box containing the camera and
the video amplifier and a smaller square box housing the pulse and
synchronizing signal generator. The outstanding characteristics of these
units are their small, compact and light-weight construction and features
such as the automatic iris control and the automatic focusing control.
These units will stand temperatures from -500 to +500 C. as well as
centrifugal force up to 10 Gs. Circuit details are still shrouded in
military secrecy.

Both the Army and Navy have disclosed some of the uses to which
equipment of this type has been subjected, including details on the high angle
television bomb, the glider bomber, (called a "Glomb") and the
television-equipped robot plane.

One actual use of the equipment might be as follows: A suitable bomb
(maybe 2000 pounds) has a streamlined housing strapped under it. This
contains the camera head. A wing of sufficient lifting capability, to
maintain a glide of possibly 6 to 1, is strapped on top. Fastened to the
rear of the bomb is a fuselage containing the pulse box, transmitter and a
remote-control receiver together with motors and solenoids for controlling
the rudders and fins which project from the rear of the fuselage. This is
the so-called" glide bomb" which is carried to within gliding
range of the target. The bombardier switches on the television apparatus
and when he is within gliding range of the target he releases the glider.
At this time the bomber circles away and gets out of range of enemy AA
fire and fighter planes. The operator ill the bomber synchronizes his
television receiver with the transmitter and holds it synchronized while
the bombardier, looking at a separate monitor 'scope in a darkened part of
the cabin, throws switches on his remote-control apparatus and changes the
glide bomb's path - up or down or right or left so that the target is
centered on the crosshairs on his picture 'scope. Meanwhile the bomb,
gliding at a speed of some 200 or 300 m.p.h., approaches the target. The
target looms larger and larger on the 'scope in the plane and the
bombardier makes minute corrections as various cross winds throw the bomb
off course. Suddenly the ground seems to leap up and hit the observer in
the face. The scene disappears in

an enlarging
close-up as the camera is destroyed. And so is the target!

The camera unit can be installed in the nose of a robot plane, complete
with motors and all the necessary controls. The robot is flown off the
ground by remote radio control or by a pilot who parachutes to earth after
flying the plane off the ground. The two planes now fly hundreds or even
thousands of miles until they come to the target area. Then the operator
flies the robot plane, carrying a heavy charge of explosives, right into
the target, guiding the robot by the view of the area ahead as received
over the television circuit.

Television may also be used in the so-called high-angle bomb carrying a
television camera in front of the" war head" and with the
associated equipment in the bomb's tail portion. This bomb has no wings
but has controlling devices on the tail. The bomb is dropped from 25,000
to 30,000 feet by a standard bomb sight and theoretically would hit the
target without any remote control. However, unknown cross winds and
unknown temperatures at lower levels often cause high elevation bombs to
miss their target, therefore the bombardier utilizes television to see in
what direction the bomb deviates and then corrects its trajectory by
remote control.

Many amusing incidents occurred in connection with the
development and testing of this equipment. One day when parked on a hill
about five miles away from the lab, W1DBM tried frantically to raise
the lab on the 112-Mc. talkback circuit However, those viewing the images
had become so engrossed that they paid no attention to the voice circuit.
Rand then thought of a simple way of "raising" them. He got out
of the truck, walked around to the front and pointed first at the camera
and then at his ear, meanwhile making talking motions with his mouth. The
lab called him before he could get back into the truck! Another day while
demonstrating the equipment W1DBM was driving with the camera turned on.
The television camera, mounted insidea station
wagon, had its lens about two inches away from the windshield. Suddenly it
began to rain so hard that the windshield wipers were ineffective. Rand
stopped because he couldn't see beyond the radiator cap and the talk-back
speaker barked, "Don't stop there! Continue to your location."
Rand informed his base that he couldn't see where he was going due to the
rain. They replied, "That's funny, we can see all right."

The windshield, so close to the lens that it was out of focus, acted
more like a neutral density filter and while it cut the light in half, it
still permitted vision outside the windshield.

On one occasion during a flight in the Connecticut valley the test
plane seemed to be losing altitude so the pilot was ordered to climb back
up to his original altitude. The pilot radioed back that he couldn't see
the ground through the haze and so would continue to come down until he
could establish his position. But he halted his descent when he learned
that a good picture of the Connecticut River was being transmitted to the
ground and the men on the ground could give him instructions as to his
course.

Many problems had to be solved and serious difficulties overcome before
a television camera could be made as small and as light-weight as the
final models shown in the accompanying photographs. One of the tough
problems was that of automatically adjusting the iris in the lens to the
various changing light conditions encountered by an airborne television
camera. Another serious problem was the constant battle to reduce size and
weight. This was so vital that one of the slogans of the lab was,
"Cut it in half!" The engineers were constantly on the watch for
smaller tubes, resistors, condensers and other components and searching
for new layouts which could reduce the physical size and weight. Another
important detail was that of maintaining the right temperature range. It
was necessary to install thermostatically-controlled heated jackets on the
lens and on some of the other components before the temperature problem
was licked. The equipment was required to withstand all the abuse put upon
airborne radio through the severe vibration and high noise levels.
Extensive tests on vibration tables and in acoustical boxes were conducted
and, one by one, the offending parts or circuits were eliminated.

Probably the most important problem was that of dispensing with the
usual three or four television engineers and operators that, in the past,
accompanied so-called "portable" apparatus. This camera unit had
to be fully automatic as the only adjustment permitted was that of turning
on the power supply.

But these perplexing problems were overcome by this group of radio
amateurs in their development of television camera equipment. Inspired by
amateur television experiments, developed and "followed-through"
by amateurs, this type of equipment may well prove to have many useful
functions in a peacetime world, in spite of the fact that it was
originally conceived to aid our country in battle. It is truly another
worth-while contribution made by the radio amateur in the battle of the
laboratory and the production floor.

-end-

Before the Mini-cam news
video camera there was...

Gordon Yoder
16mm Bach-Auricon Sound-On-Film Camera.

Professional CINE TELEVISION CAMERA. This is an
original Gordon Yoder, model 31507. Yoder, who died in October,
2005, was the owner and operator of Gordon Yoder Inc. in Dallas, Texas. He
developed a modification for the 16mm Bach-Auricon sound-on-film camera,
expanding its film capacity to hold larger film magazines, incorporating a
transistorized magnetic sound recording system, and using 12 volt synch
motors. Many considered the Yoder camera a standard of the news film
industry.

Yoder’s converted camera meant that photojournalists
could shoot longer than 2 minutes and 45 seconds. Before magnetic sound on
film was invented, cameras weren’t portable. Sound was recorded
optically. This required a big, heavy conversion box. TV cameramen had to
carry not only heavy battery packs (lead-acid, because Ni-Cads had not yet
been invented), but also an inverter to convert the electricity to
alternating current (AC). The Yoder-converted cameras, and the CP-16s that
followed, revolutionized the way news was covered.

Also included are two (2) All
Transistor High Fidelity 16mm SOUND-ON-FILM AMPLIFIERS Filmagnetics by
Bach Auricon, Filter, and BASF Blank SP52 Tapes. This camera originally
belonged to KVOS-TV which can be seen in Bellingham, Washington, and
British Columbia, Canada. The Camera works. However, we did not
get any power cords. perhaps someone has cords we can use with this?

We are looking for manuals, parts and a spare camera body....anyone
have any leads?

The station has garnered the bronze Telly
Award in the 27th Annual Telly
Awards competition. The award honors excellent local, regional and cable
television commercials and programs, as well as the finest video and film
productions. MCTV was recognized in the Live Event category for coverage
of the 13th Annual Gene Autry Courage Awards, held in Tempe in March.
MCTV’s Torsten Voss was the lead producer of the program.

MCTV was among more than 12,000 entrants from 50 states and five
continents who participated in the Telly
Award competition.

In addition to the Telly
Award, MCTV also recently received the winner’s trophy in the 16th
Annual Aegis Award competition, which honors outstanding television and
video production. The award criteria focuses on several elements of
production, including shooting, editing, and use of music.

MCTV received the Aegis Award for a series about Arizona state
historian Marshall Trimble that was featured on the station’s news
magazine show “Maricopa Now” in February, April and March. There were
more than 3,000 entrants vying for Aegis Award recognition.

“We are proud to accept these awards that honor the hard work,
creativity and talent of the MCTV staff. These awards are a testament to
the fine, high quality programming MCTV brings to viewers on behalf of the
Maricopa Community Colleges,” said René Blatte, MCTV director.

The Telly Awards honors outstanding local, regional and national cable TV commercials and programs, as well as the finest video and film productions. They annually showcase the best work of the most respected advertising agencies, production companies, television stations, cable operators and corporate video departments.

The Telly Awards receives in excess of 12,000 entries each year from 50 states and foreign countries.

"It is honor to receive a highly respected national award for work in publicizing events that take place in the city of Glendale," said Ed Sharpe, Director for CouryGraph Productions and its subsidiaries. "The Telly awards highlight the high standards of excellence we wish to achieve. In addition, it is our wish to provide our viewer-ship with information they can trust and enjoy."

The Glendale Fire Department Safety House Trailer was purchased with a FEMA Grant and provides realistic training for youth and adults on escape tactics from burning structures. Dennis Davis volunteer for the Glendale Fire Department and class teacher travels around the city to schools and adult centers introducing and refreshing people on the wisdom of fire safety. This unique training aid is often on display at Glendale city events also.

In addition, earlier this year, The Glendale Daily Planet was the recipient of a bronze Millennium Award and a Movie on Glendale Gaslight Inn by CouryGraph Productions netted a Silver Millennium Award.

The work of Ed Sharpe from CouryGraph Productions and other participative community journalists may be viewed, 24-hours a day, seven days a week at www.glendaledailyplanet.com

CouryGraph Productions received a Bronze Telly
Award for a short documentary on the Glendale Fire Department Safety
House, a film trailer used to educate people about fire safety at various
locations around the city.

The Telly Awards honor outstanding local,
regional and national cable TV commercials and programs, as well as video
and film productions.

The program receives more than 12,000 entries
each year from all over the country. Ed Sharpe, director of Glendale-based
CouryGraph, said this was his first year entering the contest.

The 14-minute film focuses on fire department
volunteer Dennis Davis, who uses the trailer to train children and adults
on how to escape from a burning structure.

The film is available on The Glendale Daily
Planet, an Internet video news source which Sharpe manages.

The
Telly Award honors outstanding local, regional and national cable TV com­mercials
and programs, as well as video and film productions. The award
organization annually showcases the best work of advertising agencies,
produc­tion companies, television stations, cable operators and corporate
video departments.

Sharpe
and CouryGraph Productions received the Bronze Award for a 14­minute
movie documenting The Glendale Fire Department Safety House. Glen­dale
Fire Department Vol­unteer Dennis Davis, who teaches the fire safety
class involving this vehicle, was the subject of the video.

The
Telly Awards re­ceives in excess of 12,000 entries each year from 50
states and foreign countries.

"It
is honor to receive a highly respected national award for work in
publicizing events that take place in the city of Glendale," Sharpe
said. "The Telly awards highlight the high standards of excellence we
wish to achieve. In addition, it is our wish to provide our viewership
with information they can trust and enjoy."

The
Glendale Fire De­partment Safety House trailer was purchased with a FEMA
Grant and pro­vides realistic training for youth and adults on escape
tactics from burning structures. Dennis Davis, Glendale Fire Department
volunteer and class teacher, travels around the city to schools and adult
centers introducing and refreshing people on the wisdom of fire safety.
This unique training aid is often on dis­play at city events. In
addition, earlier this year,

The
Glendale Daily Planet was the recipient of a bronze Millennium Award, and
CouryGraph Productions netted a silver Millennium award for a movie on
Glendale Gaslight Inn.

The
work of CouryGraph Productions and other participative com­munity
journalists may be viewed 24 hours a day, seven days a week at www.glendaledailyplanet.com.

This is an original 1928 color cover for the Science and
Invention Magazine dated November, 1928, Vol. XVI, No. 7.